Iconic Hollywood auteur Tim Burton, the creative mind behind films like Edward Scissorhands (1990), The Nightmare Before Christmas (1993), and Big Fish (2003), will be reuniting with Scott Alexander and Larry Karaszewski, the writers of his 1994 award-winning Ed Wood, for his own take on The Addams Family, Deadline reports.
Burton's Addams Family will be based on the humorous, macabre drawings of Charles Addams, the cartoonist who created the Addams Family cast of characters that first appeared in the New Yorker in 1938. The project's producer, Chris Meledandri, recently acquired the rights to those characters, and Burton plans to stick to their original sharp wit and visual style, rather than going off the trio of successful 90s movie adaptations.
Distinguishing the Burton reboot of the Addams franchise will be the relatively novel medium the director plans to work with: 3D stop-motion animation.
The film will be "based on artwork that Tim absolutely loves," said Karasweski, one of the project's writers. "The retrospective in New York of Tim's own artwork showed how much of an influence Charles Addams was to him. We want the tone to be as darkly funny and subversive as the Addams drawings, and we've come up with an approach that nobody has done before."
It sounds like the perfect return to form for Burton, whose latest Alice in Wonderland was something of a disappointment to those expecting another classic Burton product; his heart just didn't seem in it. Thankfully, this sounds like the kind of project that Burton can really get passionate about, with the kind of grim visual style and dark wit that have always been at the center of his most successful films. And the addition of 3D to Burton's beloved stop-motion animation opens up a whole new dimension of creativity possibilities.
Source: Deadline

The Toronto International Film Festival has an impressive slate of films lined up for its 35th anniversary. The Canadian film festival will host 25 World Premieres, 15 Gala Premiers and 35 Special Presentations films from a multitude of acclaimed and upcoming directors. The most anticipated films to debut at the festival include Darren Aronofsky’s followup to The Wrestler, the stately-looking Black Swan, and Mark Romanek’s adaptation of bestseller Never Let Me Go, starring new Spider-Man Andrew Garfield. Robert Redford’s Lincoln assassination drama The Conspirator and John Cameron Mitchell’s tearjerker Rabbit Hole, and Alejandro González Iñárritu’s perplexing Biutiful are also generating some interest and buzz. Less promising features include Stone, a thriller so generic that Ed Norton's cornrows look like the most interesting thing about it, and Trust, David Schwimmer's melodramatic internet predator panic piece. But don't quote us on that, film festivals are always full of unexpected surprises, and you can never be sure what's going to become a hit.
The Toronto Film Festival will take place from September 9-19th. For a full summary of the films appearing in the festival, check out the official list below.
Galas
The Bang Bang Club. Steven Silver, Canada/South Africa World Premiere The Bang Bang Club was the name given to four young photographers, Greg Marinovich, Kevin Carter, Ken Oosterbroek and Joao Silva, whose photographs captured the final bloody days of white rule in South Africa and the final demise of apartheid. The film tells the remarkable and sometimes harrowing story of these young men – and the extraordinary extremes they went to in order to capture their pictures. The film stars Ryan Phillippe, Malin Akerman, Taylor Kitsch, Neels Van Jaarsveld and Frank Rautenbach.
Barney's Version Richard J. Lewis, Canada/Italy North American Premiere From producer Robert Lantos, Barney’s Version is a film based on Mordecai Richler's prize-winning comic novel. Barney Panofsky (Paul Giamatti) is a seemingly ordinary man who lives an extraordinary life. Barney?s candid confessional spans four decades and two continents, and includes three wives (Rosamund Pike, Minnie Driver and Rachelle Lefevre), one outrageous father (Dustin Hoffman) and a charmingly dissolute best friend (Scott Speedman).
Black Swan Darren Aronofsky, USA North American Premiere A psychological thriller set in the world of New York City ballet, Black Swan stars Natalie Portman as Nina, a featured dancer who finds herself locked in a web of competitive intrigue with a new rival at the company. Black Swan takes a thrilling and at times terrifying journey through the psyche of a young ballerina whose starring role as the duplicitous swan queen turns out to be a part for which she becomes frighteningly perfect. Black Swan also stars Vincent Cassel, Mila Kunis, Barbara Hershey and Winona Ryder.
Casino Jack George Hickenlooper, Canada World Premiere Based on a true story, Kevin Spacey stars as Jack Abramoff, the former high-powered lobbyist whose bribery schemes and fraudulent dealings with Indian casinos ultimately landed him in prison, and stunned the world. It remains the biggest scandal to hit Washington, D.C. since Watergate. The film also stars Barry Pepper, Kelly Preston, Rachelle Lefevre and Jon Lovitz.
The Conspirator Robert Redford, USA World Premiere While an angry nation seeks vengeance, a young union war hero must defend a mother accused of aiding her son in the assassination of President Abraham Lincoln. Directed by Robert Redford, the film stars James McAvoy, Robin Wright, Kevin Kline, Evan Rachel Wood and Tom Wilkinson.
The Debt John Madden, USA North American Premiere Helen Mirren, Jessica Chastain and Sam Worthington star in this thriller about three Israeli Mossad agents on a 1965 mission to capture a notorious Nazi war criminal. Thirty years later, secrets about the case emerge.
The Housemaid Im Sang-Soo, South Korea North American Premiere In this erotic thriller, the housemaid of an upper-class family becomes entangled in a dangerous tryst. A satirical look at class structure, reminiscent of the work of Claude Chabrol, this sexy soap opera is a story of revenge and retribution.
Janie Jones David M. Rosenthal, USA World Premiere Aspiring recording artist Ethan Brand gets a stunning surprise on the opening night of a tour – a strung out former groupie appears unexpectedly, pleading with him to care for their daughter while she pulls herself together. Enter Janie Jones.
The King's Speech Tom Hooper, United Kingdom/Australia North American Premiere The King's Speech tells the story of the man who would become King George VI, the father of the current Queen, Elizabeth II. After his brother abdicates, George „Bertie? VI (Colin Firth) reluctantly assumes the throne. Plagued by a dreaded nervous stammer and considered unfit to be King, Bertie engages the help of an unorthodox speech therapist named Lionel Logue (Geoffrey Rush). Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country into war.
Little White Lies Guillaume Canet, France World Premiere Despite a traumatic event, a group of friends decides to go ahead with their annual beach vacation. Their relationships, convictions, sense of guilt and friendship are sorely tested. They are finally forced to own up to the little white lies they have been telling each other. Directed by Guillaume Canet and starring: François Cluzet, Marion Cotillard, Benoît Magimel, Gilles Lellouche, Jean Dujardin, Laurent Lafitte, Valérie Bonneton and Pascale Arbillot.
Peep World Barry Blaustein, USA World Premiere On the day of their father?s 70th birthday party, four siblings come to terms with the publication of a novel written by the youngest sibling that exposes the family?s most intimate secrets. The project's available for distribution, and stars Michael C. Hall, Sarah Silverman, Rainn Wilson, Ben Schwartz, Judy Greer, Kate Mara, Taraji Henson and Ron Rifkin.
Potiche François Ozon, France North American Premiere A bourgeois housewife (Catherine Deneuve) takes on a rough union leader (Gerard Depardieu) in François Ozon's sparkling comic war between the sexes, and the classes.
The Town Ben Affleck, USA North American Premiere The Town is a dramatic thriller about robbers and cops, friendship and betrayal, love and hope, and escaping a past that has no future. In the Boston neighbourhood of Charlestown, Doug MacCray is the leader of a crew of ruthless bank robbers. But everything changed on the gang?s last job when they took bank manager Claire Keesey hostage. Questioning what she saw, Doug seeks out Claire. As their relationship deepens, Doug wants out of this life and the town, but now he must choose whether to betray his friends or lose the woman he loves.
The Way Emilio Estevez, USA World Premiere Martin Sheen plays Tom, an American doctor who comes to St. Jean Pied de Port, France to collect the remains of his adult son, killed in the Pyrenees in a storm while walking The Camino de Santiago. Driven by his profound sadness and desire to understand his son better, Tom decides to embark on the historical pilgrimage. Along the way he learns what it means to be a citizen of the world again and discovers the difference between “The life we live and the life we choose.”
West is West Andy De Emmony, United Kingdom World Premiere Manchester, Northern England, 1976. The now much-diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, is under heavy assault both from his father's tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. His father decides to pack him off to Mrs. Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 30 years earlier. The sequel to East is East, West is West is the coming of age story of both 15-year-old Sajid and of his father, 60-year-old George Khan.
Special Presentations
Another Year Mike Leigh, United Kingdom North American Premiere A happily married, middle-aged couple are visited by a number of unhappy and lonely friends who use them as confidantes. When an unmarried friend falls for their young son, they watch as events unfold. The film stars Jim Broadbent, Lesley Manville, Ruth Sheen, Peter Wight, Oliver Maltman, David Bradley, Karina Fernandez and Martin Savage.
Beginners Mike Mills, USA World Premiere When his 71-year-old father (Christopher Plummer) comes out of the closet, Oliver (Ewan McGregor) must explore the honesty of his own relationships. From the director of Thumbsucker.
The Big Picture Eric Lartigau, France World Premiere Paul Exben is a success story. He has a great job, a glamorous wife and two wonderful sons, except that this is not the life he has been dreaming of. A moment of madness is going to change his life, forcing him to assume a new identity that will enable him to live his life fully. The Big Picture, an adaptation of the novel by Douglas Kennedy, is directed by Eric Lartigau and stars Romain Duris, Marina Foïs, Niels Arestrup and Catherine Deneuve. It is produced by Pierre-Ange Le Pogam.
Biutiful Alejandro González Iñárritu, Spain/Mexico North American Premiere This is a story of a man in free fall. On the road to redemption, darkness lights his way. Connected with the afterlife, Uxbal is a tragic hero and father of two who's sensing the danger of death. He struggles with a tainted reality and a fate that works against him in order to forgive, for love, and forever. The film stars Javier Bardem.
Blue Valentine Derek Cianfrance, USA Canadian Premiere Blue Valentine is the story of love found and love lost, told in past and present moments in time. Flooded with romantic memories of their courtship, Dean and Cindy use one night to try and save their failing marriage. Ryan Gosling and Michelle Williams star in this honest portrait of a relationship on the rocks.
Brighton Rock Rowan Joffe, United Kingdom World Premiere Based on Graham Greene's 1938 novel, we follow the odd relationship between a young thug on the rise in the British underground and a tea room waitress who witnesses a crime he has committed.
Buried Rodrigo Cortés, Spain/USA Canadian Premiere When Paul Conroy (Ryan Reynolds) wakes up six feet underground with no idea who put him there or why, life for the truck driver and family man instantly becomes a hellish struggle for survival. Buried with only a cell phone and a lighter, poor reception, a rapidly draining battery and a dwindling oxygen supply become his worst enemies in a tightly confined race against time.
Conviction Tony Goldwyn, USA World Premiere Conviction is the inspirational true story of a sister?s unwavering devotion to her brother. When Betty Anne Waters? (two-time Academy® Award winner Hilary Swank) older brother Kenny (Sam Rockwell) is arrested for murder and sentenced to life in 1983, Betty Anne, a Massachusetts wife and mother of two, dedicates her life to overturning the murder conviction.
Cirkus Columbia Danis Tanovic, Bosnia and Herzegovina International Premiere After twenty years of exile, a husband returns to his hometown in Herzegovina to settle some scores with his ex-wife, armed with a new Mercedes, a sexy new girlfriend and a mangy black cat.
Dhobi Ghat Kiran Rao, India World Premiere In the teeming metropolis of Mumbai, four people separated by class and language are drawn together in compelling relationships. Shai, an affluent investment banker on a sabbatical, strikes up an unusual friendship with Munna, a young and beautiful laundry boy with ambitions of being a Bollywood actor, and has a brief dalliance with Arun, a gifted painter. As they slip away from familiar moorings and drift closer together, the city finds its way into the crevices of their inner worlds.
Easy A Will Gluck, USA World Premiere After a little white lie about losing her virginity gets out, a clean-cut high school girl (Emma Stone) sees her life paralleling Hester Prynne?s in The Scarlet Letter, which she is currently studying in school – until she decides to use the rumour mill to advance her social and financial standing.
Henry's Crime Malcolm Venville, USA World Premiere After serving three years in prison for a bank robbery he did not commit, an amiable but aimless man decides to rob the bank for real. His plan involves infiltrating a local theatre company, but his scheme gets complicated when he falls for the company?s lead actress. The film stars Keanu Reeves, Vera Farmiga, James Caan, Fisher Stevens, Peter Stormare, Danny Hoch and Bill Duke.
The Illusionist Sylvain Chomet, United Kingdom North American Premiere From the director of The Triplets Of Belleville comes a film of grace and unique beauty. Working from a never-produced script written by Jacques Tati for his daughter, Chomet tells the story of a magician who was pushed aside by rock and roll, yet finds one young girl who appreciates his magic. The film stars Jean-Claude Donda and Eilidh Rankin.
In A Better World Susanne Bier, Denmark/Sweden International Premiere The story traces elements from a refugee camp in Africa to the grey humdrum of everyday life in a Danish provincial town. The lives of two Danish families cross each other, and an extraordinary but risky friendship comes into bud. But loneliness, frailty and sorrow lie in wait. Soon, friendship transforms into a dangerous alliance and a breathtaking pursuit in which life is at stake.
I Saw the Devil Kim Jee-woon, South Korea North American Premiere A hard-boiled thriller from Korean master Kim Jee-woon, I Saw the Devil is a tale of bloody vengeance against a dangerous psychopath who has committed a gruesome series of murders.
It's Kind of a Funny Story Ryan Fleck, Anna Boden, USA World Premiere Stressed-out teenager Craig checks himself into a mental health clinic – where he finds himself in the adult ward. Sustained by friendships on both the inside and the outside, Craig learns more about life, love and the pressures of growing up. The comedy-drama stars Keir Gilchrist, Emma Roberts and Zach Galifianakis.
Jack Goes Boating Philip Seymour Hoffman, USA International Premiere Adapted from Bob Glaudini's acclaimed Off Broadway play, Jack Goes Boating is a tale of love, betrayal, friendship and grace centered around two working-class New York City couples. The film stars John Ortiz, Daphne Rubin-Vega, Amy Ryan and Philip Seymour Hoffman, with Hoffman making his feature directorial debut.
L'Amour Fou Pierre Thoretton, France World Premiere Yves Saint Laurent built one of fashion's most celebrated empires. This moving documentary chronicles his rise, his lifelong partnership with Pierre Bergé and their decision to auction off a lifetime of precious art and objects.
The Legend of the Fist: The Return of Chen Zhen Andrew Lau, Hong Kong North American Premiere In 1920s Shanghai, hero Chen Zhen single-handedly avenges his mentor?s death by killing all the Japanese at a dojo in Hongkou, only to be showered with bullets while making his legendary flying kick. Now, years later, Chen Zhen, who is believed dead, returns in disguise to infiltrate a criminal empire and to dismantle the evil collusion that plagues the country.
Lope Andrucha Waddington, Brazil/Spain World Premiere Andrucha Waddington brings famed Spanish playwright Lope de Vega?s passionate life to the screen. The young poet returns to Madrid from war and gets his foot in the door of Madrid's most important theatre troupe – quickly charming his boss's daughter. His childhood friend, Isabel de Urbina, also falls under the spell of his poems. So much seduction eventually brings misfortune and he must flee Madrid.
Love Crime Alain Corneau, France International Premiere Dangerous Liaisons meets Working Girl in this deliciously caustic tale of office politics. Starring Kristin Scott Thomas and Ludivine Sagnier as mentor and ingénue, Love Crime is a remorseless clash of two competing egos.
Made in Dagenham Nigel Cole, United Kingdom World Premiere Sally Hawkins stars as Rita O?Grady, the catalyst for the 1968 Ford Dagenham strike by 187 sewing machinists which led to the advent of the Equal Party Act. Working in extremely impoverished conditions for long, arduous hours, the women at the Ford Dagenham plant finally lose their patience when they are reclassified as “unskilled.” With humour, common sense and courage, they take on their corporate paymasters, an increasingly belligerent local community, and finally the government itself. The film also stars Bob Hoskins, Miranda Richardson, Geraldine James and Rosamund Pike.
Miral Julian Schnabel, United Kingdom/Israel/France North American Premiere From the director of The Diving Bell and the Butterfly, Before Night Falls and Basquiat, comes Miral, the visceral, first-person diary of a young girl growing up in East Jerusalem as she confronts the effects of occupation and war in every corner of her life. Schnabel pieces together momentary fragments of Miral's world – how she was formed, who influenced her, all that she experiences in her tumultuous early years – to create a raw, moving, poetic portrait of a woman whose small, personal story is inextricably woven into the bigger history unfolding all around her.
Never Let Me Go Mark Romanek, United Kingdom World Premiere Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) spent their childhood at a seemingly idyllic boarding school. When they leave the shelter of the school, the terrible truth of their fate is revealed and they must confront the deep feelings of love, jealousy and betrayal that threaten to pull them apart.
Norwegian Wood Tran Anh Hung, Japan North American Premiere Adapted from Haruki Murakami's bestselling novel. Watanabe, a quiet and serious college student, becomes deeply devoted to Naoko, a beautiful and introspective young woman with whom he shares the tragedy of their best friend?s death. When Naoko suddenly disappears, Midori, an outgoing, vivacious and supremely self-confident girl marches into Watanabe's life. The film stars Kenichi Matsuyama, Rinko Kikuchi and Kiko Mizuhara.
Outside the Law Rachid Bouchareb, France/Algeria/Tunisia/Italy/Belgium North American Premiere Bouchareb's follow-up to Days of Glory is an epic French gangster movie in the tradition of Once Upon a Time in America. The film follows three brothers from childhood in Algeria through turbulent years in Paris, as their paths diverge towards radical politics and violent crime.
Rabbit Hole John Cameron Mitchell, USA World Premiere A family navigates the deepest form of loss in John Cameron Mitchell's screen adaptation of the Pulitzer Prize winning play by David Lindsay-Abaire. Nicole Kidman and Aaron Eckhart deliver captivating performances as a husband and wife who fight to save their marriage in the life that begins again after tragedy.
A Screaming Man Mahamat-Saleh Haroun, France/Belgium/Chad North American Premiere One of Africa's preeminent film artists, Haroun returns to themes of family and loyalty in war-torn Chad. A father and son work together at the pool of five-star hotel, but the civil war forces life-and-death choices upon them.
Stone John Curran, USA World Premiere. Robert De Niro and Edward Norton deliver powerful performances as a seasoned corrections official and a scheming inmate whose lives become dangerously intertwined. Stone weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. The film also stars Milla Jovovich and Frances Conroy.
Submarine Richard Ayoade, United Kingdom World Premiere British comic Richard Ayoade delivers his hotly-anticipated feature debut Submarine. One boy must fight to save his mother from the advances of a mystic, and simultaneously lure his eczema-strafed girlfriend in to the bedroom, armed with only a vast vocabulary and near-total self-belief. His name is Oliver Tate.
That Girl in Yellow Boots Anurag Kashyap, India North American Premiere Ruth is searching for her father – a man she hardly knew but cannot forget. Desperation drives her to work without a permit, at a massage parlour, where she gives "happy endings? to unfulfilled men. Torn between several schisms, Mumbai becomes the backdrop for Ruth's quest as she struggles to find her independence and space even as she is sucked deeper into the labyrinthine politics of the city's underbelly.
Tamara Drewe Stephen Frears, United Kingdom North American Premiere Based on Posy Simmonds? beloved graphic novel. When Tamara Drewe returns to the village of her youth, life for the locals is thrown upside down. Tamara – once an ugly duckling – has been transformed and is now a minor celebrity. As infatuations, jealousies, love affairs and career ambitions collide among the inhabitants of the neighbouring farmsteads, Tamara sets a contemporary comedy of manners into play.
The Trip Michael Winterbottom, United Kingdom World Premiere Follow two good friends in this hilarious road movie as they embark on a tour of the Lake District and the Yorkshire Dales of Northern England, eating, chatting and driving each other crazy. The film stars Steve Coogan and Rob Brydon.
Trust David Schwimmer, USA World Premiere Safe and sound in their suburban home, Will and Lynn Cameron (Clive Owen and Catherine Keener) used to sleep well at night. When their 14-year-old daughter, Annie, made a new friend on-line – a 16-year-old boy named Charlie – Will and Lynn didn?t think much of it. But when Annie and Charlie make a plan to meet what happens in the next twenty-four hours changes the entire family forever. Charlie is really a 40-year-old serial pedophile (Tom McCarthy) and, once Annie?s rape comes to light, it becomes a touchstone event that reverberates through the entire family.
You Will Meet a Tall Dark Stranger Woody Allen, United Kingdom/USA/Spain North American Premiere Woody Allen's latest comic ensemble piece follows a group of Londoners struggling with failing marriages, restless libidos, the perils of aging and desires that drive a series of decisions with unforeseen consequences. The film stars Antonio Banderas, Josh Brolin, Anthony Hopkins, Gemma Jones, Lucy Punch and Naomi Watts.
Source: IndieWire

S2:E1 I was hesitant when I heard there would be a second season of “Kourtney &amp; Khloe Take Miami” for two reasons: one, because you’d think the sisters would realize after one season that Miami isn’t really theirs for the taking, and two: because both Kourtney and Khloe's lives had changed so significantly since the first season ended (Kourtney had a baby boy and Khloe married L.A. Laker Lamar Odom) that they’d be over the beaches and bikinis thing.
But last night was the premiere of the second season, and it addressed my apprehension by explaining why, in fact, they decided to do a second season…which reaffirmed my own personal theory, and made it stronger than the theory of relativity: that any Kardashian is good Kardashian.
So the episode began with recapping everything that’s happened since the first season’s finale (which I just explained – I know it’s a Monday, but try and keep up). Then we cut right back to the Kris and Bruce’s household, where Kourtney and Khloe told the family they were going back to Miami to do more work on D-A-S-H, the store they set up there. Khloe didn’t want to go because she never wants to be more than an iPhone’s length away from her Laker husband, which is cute if you think about it while you’re on drugs. (Why can’t he go with her? He’s a Laker, and I’m pretty sure there’s some rule about Lakers going to Miami). However, luckily enough for Kourtney, her son Mason and horrendous boyfriend Scott Disick (I’m going to call him “Dick Scott”) had nothing better to do so he went to Miami with her.
Kourtney and Khloe didn’t go to Miami together. Kourtney, Scott and B-Mase (baby Mason…seriously, this isn’t going to work if you don’t make an effort) headed over there first, and because there’s simply more of them, they decided to take the biggest room in the hotel suite for themselves. While this was happening, we see Khloe and Lamar making out with each other in the back of a closet. My eyes got cross trying to figure out if this was a metaphor for something.
After Kourtney got settled in, she took B-Mas to look at the condition of D-A-S-H, which turned out to be the equivalent of Woodstock after the wood. There’s no merchandise and people were dropping deuces in the dressing rooms. DOESN’T THAT SOUND LIKE A PLACE YOU WANT TO GO? Kourtney hired a brand new staff, put the clothes back on the shelves, and cleaned up after the people who confused the dressing rooms with bathrooms.
Khloe arrived in Miami and after she heard all the work Kourtney did, she got pissed because she left Laker Lamar (ooh, that one just came to me!) to help her with the store -- not to have Kourtney do it all before she got there. This was the first piece of drama we got in the second season, which kind of blows because it’s really hard to identify with. Whenever your wife takes out the trash before you get home, you’re a psycho if you yell at her for doing it before you could.
In addition to revamping D-A-S-H, Khloe signed up to get back into her radio show, “Khloe After Dark.” She went back to the studio and chatted with her boss about whether or not she was able to commit to talking for four hours into a little microphone every Friday. Khloe hated guaranteeing her boss she'd be there, on time, every Friday because she wanted to be able to fly back to L.A. to be with Laker Lamar. But in the end, she promised to be punctual. (Spoiler: she's not punctual!)
That night, Kourtney took Khloe out on the town to help her forget the fact she was a few time zones away from Laker Lamar. Khloe drank way too much and when Kourtney reminded her they had a photo-shoot the next morning for D-A-S-H, Khloe told her suck something she wasn’t born with (but some people out there seem to believe she has anyway). The next morning, Khloe was so hung over the air hurt her. But they went the photo shoot anyway, where the sisters and two other girls had to strip and have black dresses painted on them.
Once everyone was in place and sufficiently naked, the photographer told Khloe “not to look so mad.” This sent Kourtney over the edge, and she told her sister to “f***ing be a professional” and to just forget about her hangover for five minutes. But you can never forget a hang over, because the pain is in your head! What kind of a request is that? To me, Kourtney picking a fight with Khloe is stupid, because Kourtney is the size of a lawn gnome and Kourtney is the size of a dump truck. So like, what’s the point?
The next day, Khloe was on the phone with Laker Lamar when she realized she was terribly late for her radio show. She ran to the studio, only to find the show had started without her. She was MAD, because IT WAS HER SHOW! How dare they start interviewing Bow-Wow on “Khloe After Dark” when Khloe isn’t even there? Ugh, tardiness rage! Her boss accosted her just as she was running in and questioned her “desire” to be there. But questioning Khloe’s “desire” to do anything is like asking why the sky is blue -- there's an answer, but it doesn't make sense. In the end, Kourtney reaffirmed her commitment to both the show and D-A-S-H. Morals, everyone. Better than chocolate.
The experience with her radio show made Khloe realize she’d been a Debbie Downer on ‘roids at the photo shoot, and so she figured out a plan to make it up to Kourtney. She made post-card sized flyers of the pictures and distributed them on the beach so the store would be flooded with customers. Her plan worked, and the sisters finally settled in to Miami just like old times. But in all honesty, they’re too old to do things the same way as “the old times.” So will they embrace their new roles as mother and wife in place of the old ones, or will Miami have too many memories of youth for them to keep their priorities straight? Will they ever really take Miami? All right, I’ll leave you alone. But think about it!

The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.

Nowhere Boy, which stars Aaron Johnson and Kristin Scott Thomas, tells the story of Lennon's formative years in Liverpool, England.
But Taylor-Wood admits the film project was hard for her - she regularly suffered panic attacks on set.
She says, "Taking on someone as iconic as Lennon - that was quite terrifying at times. There were moments where I got overwhelmed and had to sit down and take a few breaths rather than panic and run - but it was so exhilarating and fun to take on that challenge."

Sandra Bullock offers a Proposal to audiences, and they gladly accept; she earned her biggest opening weekend by a mile with $34.1 million, again, proving the power of the female audience at the box office. Disney capitalized very well on what they knew was a date comedy hit, co-starring Ryan Reynolds, by sneaking the film last weekend. Obviously, the strategy paid off with a much bigger than expected opening for the film.
In second place is the audience favorite The Hangover from Warner Bros., which continues to “drink up” to the tune of $5 million per day in mid-week grosses and an unthinkably small 18 percent third weekend drop! With another $26.9 million added to the bar bill, the film has now crossed the $150 million mark.
Disney’s Up also continues to be a word-of-mouth juggernaut as the Pixar-animated behemoth grabs another $21.3 million in its fourth weekend of release, nearing the $225 million mark in family-friendly funds. This film simply refuses to leave the top five!
At number four is the debut of Sony’s Jack Black/Michael Cera Darwinian-based comedy Year One. Directed by Harold Ramis (Ghostbusters, Meatballs and many other comedy classics), the film performed solidly with $20.2 million, considering the massive amount of competition in the comedy arena.
Rounding out this week’s top five is Sony’s The Taking of Pelham 123, which took $11.3 million in loot for the weekend against a 52 percent drop and a total of $43.3 million. The adult thriller stars Denzel Washington and John Travolta and is directed in high style by Tony Scott.
In the international marketplace, Sony’s Angels &amp; Demons continues to bedevil audiences to the tune of $329.2 in revenue and a running worldwide total of $457.5 million, well on its way to half a billion dollars globally!
Finally, if comedy has been very, very good for the wide release films, it is also great for Woody Allen and his latest directorial effort Whatever Works. The Sony Pictures Classics' film grabbed a massive $31,191 per-theater average in just nine laugh-filled and audience-filled theaters this weekend. With a total weekend take of $280,720, look for the film to be one of Allen’s best performers when it expands into 300+ theaters on July 3. Larry David is a perfect muse for Woody and Evan Rachel Wood and Patricia Clarkson round out the cast.
Thank the comedy Gods for the first “up” weekend after three “down” frames as we head toward the June 24 opening of Paramount’s expected mega-blockbuster Transformers: Revenge of the Fallen.
THREE-DAY ESTIMATES:
1. NEW! The Proposal (Disney) - $34.1M; 3056 theaters; $11,163 PTA
2. The Hangover (Warner Bros.) - $26.8M; 3545 theaters; $7,575 PTA; -18%; $152.9M cume
3. Up (Disney) - $21.3M; 3832 theaters; $5,568 PTA; -31%; $224.1M cume
4. NEW! Year One (Sony/Columbia) - $20.2M; 3022 theaters; $6,684 PTA
5. The Taking of Pelham 123 (Sony/Columbia) - $11.3M; 3077 theaters; $3,672 PTA; -52%; $43.3M cume
6. Night at the Museum: Battle of the Smithsonian (Fox) - $7.3M; 2962 theaters; $2,465 PTA; -24%; $155.9M cume
7. Star Trek (Paramount) - $4.7M; 2307 theaters; $2,037 PTA; -14%; $239.4M cume
8. Land of the Lost (Universal) - $3.9M; 2945 theaters; $1,350 PTA; -56%; $43.6M cume
9. Imagine That (Paramount) - $3.1M; 3011 theaters; $1,030 PTA; -44%; $11.3M cume
10. Terminator Salvation (Warner Bros.) - $3M; 1920 theaters; $1,599 PTA; -36%; $119.5M cume
MORE BOX OFFICE:
LAST WEEK'S B.O.: It's a Happy Hangover Again

[IMG: LThe A-Team is coming together with Bradley Cooper and Liam Neeson now said to be in talks with Fox to play Lt. Templeton "Faceman" Peck and Col. John "Hannibal" Smith, respectively. Joe Carnahan is directing the film based on the 1980s TV series.
According to Variety, Neeson and Fox are working out money issues.
Meanwhile, back in May, Cooper appeared to have unwittingly confirmed to IESB that he was in for Faceman although he backpedaled on his statements a few days later when speaking with Chud. The actor is especially hot right now coming off this weekend’s number one film, The Hangover.
Carnahan and Brian Bloom fine-tuned an A-Team script by Skip Woods while Ridley Scott is producing with Jules Daly and series creator Stephen J. Cannell. Tony Scott is executive producing through Scott Free.
Production begins in late August for a June 11, 2010 release.
The series' premise — four war vets wrongly convicted of armed robbery who escape from a military prison to become do-gooder mercenaries — is intact but the camp nature of the show is said to have been replaced with a tone that hews closer to Mission: Impossible and Ocean's Eleven.
Click for More News at Hollywood Wiretap
MORE NEWS: Wood Not Denying or Confirming West Romance

It is hard to think of a movie with a more impeccable pedigree than Body of Lies (Warner Bros), set for wide release this Friday. Three-time Academy Award nominee Ridley Scott re-teams with Oscar winner Russell Crowe for the fourth time in the film adaptation of the David Ignatius bestselling novel adapted for the screen by William Monahan, the Oscar winning screenwriter of The Departed. Add to the mix Leonardo DiCaprio, with 3 Oscar nominations of his own, and you have a project with exceedingly bright commercial and artistic prospects.
My regular sources tell me that industry tracking is softer-than-expected for this one, and reviews, as of Wednesday night, are a bit mixed (63 percent Fresh on Rotten Tomatoes), but I will still put my money on Body of Lies to win the weekend. Four of Scott’s last seven films have topped $100M domestic--Gladiator ($187.7M cume), Hannibal ($165M cume), Black Hawk Down ($108.6M cume) and last year’s American Gangster starring Crowe ($130.1M cume). When Sir Ridley has missed of late, it has been with modern day character pieces like A Good Year starring Russell Crowe ($7.5M cume) and Matchstick Men ($36.9M cume) and his stab second stab at a “sword and sandals” epic Kingdom of Heaven ($47.3M cume). The fact is that Scott is the best when it comes to smart, adult action films.
The undertow working against Body of Lies is that audiences seem deterred by any movie related to the war on terror. Critical disasters on the subject like Lions For Lambs ($15M cume) and Rendition ($9.7M cume) have failed, and even very good films like In the Valley of Elah ($6.7M cume) and The Kingdom ($47.4M cume) deserved better box office results. DiCaprio is 10 years Russell Crowe’s junior, and with recent quality hits like The Departed ($132.3M cume) and The Aviator ($102.6M cume) on his resume along with his Oscar nominated turn in Blood Diamond ($57.3M cume), he brings some much needed youth appeal. I am projecting a possible $16M-$19M for this one, and if you pin me down, I will say $17.5M.
Last week’s winner, Beverly Hills Chihuahua (Disney) will essentially have the family audience to itself again this week. The live action, talking dog comedy with Latino flavor is hitting “the sweet spot” with audiences attracting Under 25’s, Moms and pre-teens, and its weekend dip will be limited to something in the 45 percent range. That would give Chihuahua a very strong $16.6M second weekend.
The Express (Universal), the story of Ernie Davis, the first African American to win the Heisman Trophy, is tracking decently enough. Harlem-born, Brooklyn-raised former Amherst College football player-turned-actor Rob Brown plays the former Syracuse Orangemen star and sports movie veteran Dennis Quaid plays his coach Ben Schwartzwaider. Early reviews are coming in very strong with a score of 83 percent Fresh as of Wednesday night.
Football movies generally open in the mid-teens in the late summer and fall. 2006’s Mark Wahlberg vehicle Invincible scored $17M in its first three days, while Dwayne Johnson’s Gridiron Gang managed a $14.4M opening a few weeks later. It does not appear that The Express has enough traction to match the $20M+ openings for 2000’s Remember the Titans or 2004’s Friday Night Lights. I am pegging this biopic for a possible $14.1M.
There is generally room for an R-rated horror flick at this time of year, and Sony’s Quarantine fits the bill. A rare strain of rabies in a confined apartment building with lots of shaky camera work and plenty of screaming courtesy of Exorcism of Emily Rose star Jennifer Carpenter, and you probably have a decent, little low budget hit. This one could scare up $11.5M or so and a possible fourth-place finish.
The strong-holding Shia LaBeouf thriller Eagle Eye (Dreamworks/Paramount) is likely to spend another week in the top five. The DJ Caruso-directed blockbuster may bank as much as $10M more, staying on target for something north of $90M domestic. That would mean just a 45 percent drop from its strong 2nd weekend.
The lushly-appointed Saul Bibb period costume drama The Duchess (Paramount Vantage) starring Keira Knightley and Ralph Fiennes is poised for a nice expansion to about 1,100 playdates. With strong reviews and a heap of female appeal, this look at 18th-century fame may grab close to $6M.
The other wide release is the Walden Media and Playtone co-production of City of Ember being distributed by Fox. The Playtone name means that Tom Hanks is the producer, but this one will not necessarily appear near the top of his resume. There is a lot of talent in the cast including Oscar nominees Bill Murray, Saoirse Ronan (Atonement) and Marianne Jean-Baptiste (Secrets &amp; Lies) and Oscar winners Tim Robbins and Martin Landau (Ed Wood), but the movie has been barely screened for critics (if at all). This fantastical family film is unlikely to crack $5M and probably has a ceiling of $3.5M.
FINAL PREDICTIONS FOR THE WEEKEND OF OCTOBER 10
1. NEW – Body of Lies (Warner Bros) - $17.5M
2. Beverly Hills Chihuahua (Disney) - $16.6M
3. NEW – The Express (Universal) - $14.1M
4. NEW – Quarantine (Sony) - $11.5M
5. Eagle Eye (Dreamworks/Paramount) - $10M
6. Nick &amp; Norah’s Infinite Playlist (Sony) - $6.1M
7. The Duchess (Paramount Vantage) - $5.9M
8. Nights in Rodanthe (Warner Bros) - $3.9M
9. NEW – City of Ember (Fox) - $3.5M
10. Appaloosa (Warner Bros) - $3M
*Religulous (Lionsgate) - $2.1M
*Fireproof (IDP Films/Samuel Goldwyn) - $2M
*American Carol (Vivendi) - $1.75M
*Flash of Genius (Universal) - $1.3M

Movie actor Woody Harrelson's father, a convicted murderer, has died of a heart attack in prison. He was 69.
Charles Harrelson, who was serving two life sentences in Colorado's high-security Supermax prison for the 1979 murder of a federal judge, was found dead in his cell last Thursday.
Fremont County Coroner Dorothy Twellman has concluded Harrelson probably died in his sleep. She says, "It appears to be very sudden."
Harrelson was convicted of murdering District Judge John Wood outside his San Antonio, Texas, home in May 1979. He denied the killing, but prosecutors said a drug dealer paid him $250,000 to assassinate Wood so he would not preside over a trial.
Harrelson had earlier been found guilty of, and served time for, a 1968 killing.
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In his effort to recall and contrast the enthusiastic optimism that surrounded the presidential campaign of RFK with the heartbreaking illusion-shattering reality of his assassination Estevez wisely bypasses conventional biopic storytelling or even conspiracy-minded cinematic razzle-dazzle of JFK. Instead he tells the tale from the ground level focusing on a large disparate cast of characters of differing social status – some interconnected some not – who’ve assembled at Los Angeles’ swank Ambassador Hotel on the fateful day in 1968 and as a group they’re both as troubled as that turbulent year and still each clinging to hope in their own individual ways. There’s the Dodger-loving busboy (Freddy Rodriguez) contending with a brooding racist kitchen boss (Christian Slater) and bolstered by an eloquent chef (Laurence Fishburne); the head of staff (William H. Macy) who’s sleeping with a comely switchboard girl (Heather Graham) while seemingly happily married to the hotel’s compassionate beauty salon operator (Sharon Stone); she in turn counsels both a young teen bride-to-be (Lindsay Lohan) marrying a friend (Elijah Wood) to protect him from service in Vietnam and the faded boozy lounge singer (Demi Moore) whose self-destructive cruelty alienates her subservient husband (Emilio Estevez); a veteran hotel manager (Anthony Hopkins) and his retiring crony (Harry Belafonte) reflect on their lifetime of experience while an idealistic Kennedy campaigner (Joshua Jackson) dispatches two volunteers (Shia LaBeoufand Brian Geraghty) to recruit last-minute voters but they head off on an acid trip with a high-minded hippie (Ashton Kutcher); the disconnected May-December couple (Martin Sheen and Helen Hunt) the black campaign volunteer (Nick Cannon) who’s already lost too many leaders; the crusading Czechoslovakian journalist (Lenka Janacek) scrambling for an interview with the candidate; and Kennedy himself appearing in news and archival footage the most eerily effective presence in the film. While such an A-list ensemble of actors initially seems like a director’s dream team they are also responsible for the biggest hurdle the film faces. While most films have a handful of stars and the luxury of time to help audiences forget their celebrity status and embrace them as the characters they’re playing Bobby keeps shoehorning more and more famous faces into short scenes which makes it somewhat more difficult to shake the initial distraction of “Hey there’s so-and-so!” Some of skilled cast—particularly Hopkins Belafonte Macy Sheen Hunt Rodriguez and Fishburne—make the transition easier but with others who are known more as “stars” than actors (Moore Stone Lohan and Kutcher) it takes longer to adjust. And that’s not to say those performances are bad: Moore is terrific reminding us more of her innate watchability on screen than her well-preserved looks and much-younger husband; Stone is in top form despite her overly dowdy get-up; and Kutcher shows his skill with a slightly subtler form of comedy than he usually delivers. Lohan is only passable however trying too self-consciously to appear vulnerable. Still other performances are revelations: Cannon shows as-yet-unseen depth and fire Jackson displays a Clooney-esque self-assured poise and Estevez smartly underplays his role. Understatement definitely seems to be Estevez’s watchword. He typically eschews an overly flashy cinematic approach and simply allows his actors to bring the scenes to emotional life even as he takes great pains to get the period details just right. When he does bring his technical filmmaking savvy more obviously to the forefront primarily in the scenes that integrate real scenes of Kennedy into the story it’s especially potent. Indeed the first three-quarters of the film are well-shot well-acted vignettes that evoke an era but it’s the thoughtful and clever integration of RFK into the third act that unifies and ultimately gives each of the stories—and the film as a whole—genuine dramatic power. Ultimately Estevez uses Kennedy’s own words to deliver a solemn respectful eulogy for the man and a hopeful call to keep the man’s dreams alive.